Histories of sculpture within the Nordic region are under-studied and the region's influence upon and translation of influences from elsewhere in Europe remain insufficiently traced. This volume brings to light individual histories of sculptural mobility from the early modern period onwards. Examining the movement of sculptures, sculptors, practices, skills, styles and motifs across borders, through studios and public architectures, within popular and print culture and via texts, the essays collected here consider the extent to which the sculptural artwork is changed by its physical movement and its transfigurations in other media. How does the meaning and form of these objects performatively respond to the pressure of their relocations and rematerialisations? Conversely, how do sculptures impact their new contexts of display? The contributing authors engage with a wide variety of objects and media in their essays. Each focuses on the contextualisation of sculpture in an original and timely way, exploring how mobility acts as a filter offering new perspectives on iconography, memorialisation, collecting, iconoclasm and exhibiting. From the stave churches of early Norway to the decoration of International Style monoliths of the twentieth century, from Italian quarries to Baroque palaces, from fountains to figurines, from text to performance, these wide-ranging and fascinating case studies contribute to the rich history of the Nordic region's sculptural production.

Bears are a symbol of strength in many cultures. They also have a certain protectiveness and prowess about them - characteristics that are easily seen in this soapstone carving of a standing bear. Illustrated, step-by-step directions provide techniques for carving, from designing the bear to adding the final polish. Chapters include carving the waist and belly, head and shoulders, legs and tail, and its ears and snout. A gallery of completed projects will inspire your own creativity. The soapstone's soft texture makes it an easy and popular material for carving the bear's many features. This book is perfect for carvers and woodworkers of all skill levels.

This is the first full-length, English-language study of eleventh-century figural sculpture produced in Dalmatia and Croatia. Challenging the dependency on stylistic analysis in previous scholarship, Magdalena Skoblar contextualises the visual presence of these relief carvings in their local communities, focusing on five critical sites. Alongside an examination of architectural setting and iconography, this book also investigates archaeological and textual evidence to establish the historical situation within which these sculptures were produced and received. Croatia and Dalmatia in the eleventh century were a borderland between Byzantium and the Latin west where the balance of power was constantly changing. These sculptures speak of the fragmented and hybrid nature of the Adriatic and the Mediterranean as a whole, where well-connected trade routes and porous boundaries informed artistic production. Moreover, in contrast to elsewhere in Europe where contemporary figural sculpture was spurred on by monastic communities, this book argues that the patronage of such artworks in Dalmatia and Croatia was driven by members of the local secular elites. For the first time, these sculptures are being introduced to Anglophone scholarship, and this book contributes to a fuller understanding of the profound changes in medieval attitudes towards sculpture after the year 1000.

This reprint edition is the definitive book on the Steuben Glass Works and co-founder Frederick Carder. The special types of glass for which he was famed in the 1890-1930s era are presented, including Aurene, Tyrian, Verre de Soie, Cyprian, Ivrene, Cintra, Cluthra, Intarsia, Diatreta, and others, as well as all colors and the engraved, cut, and etched patterns. The photographs and line drawings from the Steuben catalogs bring the glass to life. A new Foreword by David Whitehouse and an Introduction by Paul N. Perrot, both of The Corning Museum of Glass, introduce this edition to a new generation of glass enthusiasts. The chapter on Carder's "rediscovery" of the lost wax process and the reproduction of the various Steuben trademarks and Carder's signatures help make this a superlative reference work for collectors, dealers, artists, designers, and historians.

The British School of Sculpture, c. 1760-1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.

Sculptural Materiality in the Age of Conceptualism is structured around four distinct but interrelated projects initially realized in Italy between 1966 and 1972: Yayoi Kusama's Narcissus Garden, Michelangelo Pistoletto's Newspaper Sphere (Sfera di giornali), Robert Smithson's Asphalt Rundown, and Joseph Beuys's Arena. These works all utilized non-traditional materials, collaborative patronage models, and alternative modes of display to create a spatially and temporally dispersed arena of matter and action, with photography serving as a connective, material thread within the sculpture it reflects. While created by major artists of the postwar period, these particular projects have yet to receive substantive art historical analysis, especially from a sculptural perspective. Here, they anchor a transnational narrative in which sculpture emerged as a node, a center of transaction comprising multiple material phenomenon, including objects, images, and actors. When seen as entangled, polymorphous entities, these works suggest that the charge of sculpture in the late postwar period came from its concurrent existence as both three-dimensional phenomena and photographic image, in the interchanges among the materials that continue to activate and alter the constitution of sculpture within the contemporary sphere.

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

This new study of the Central Glass Company, Wheeling, West Virginia, and its beautiful glass is one of the most comprehensive books in the collecting field. Heavily illustrated with color images, historical documents, and catalog pages, it will satisfy both the collector and the glass historian. Each pattern is illustrated, most with beautiful color photos, and all are carefully described. A guide to current values is included. The pattern designs, collected from a variety of incomplete, partially destroyed, and randomly numbered catalogs, are placed in the correct order of the mold number, offering the first chronological overview of the company's growth. An easy identification guide compiles every known pattern made by the Central Glass Company from 1863 to 1893. The reader will discover many formerly unknown patterns with correct attributions to the Central Glass Company.

During the last quarter of the nineteenth century, American potters were struggling to produce quality ceramics to rival that of the English and French. Knowles, Taylor & Knowles took up the challenge, determined to produce a bone china that would be the pride of America. Highly regarded in its day, Knowles, Taylor & Knowles made Belleek Ware, Lotus Ware, and China Whiskey Jugs which are prized possessions among collectors today. Here is a book to inspire dealers and collectors alike. Valuable information concerning the identification of the various wares, the manufacturer's marks, decorative techniques, artists and the current values is included. Each phase of the company's production is illustrated in 245 color photographs.

The Chesapeake Bay Blue Crab comes to life in this new D-I-Y book. Step-by-step instructions illustrated with 215 color photographs, will help both the beginner and advanced woodcarver learn how to carve this nautical species using power tools. The book features 14 clear, full-size drawings and illustrated, step-by-step directions for carving and painting each part of the crab, including a base and display to hold the completed crab among carved barnacles and grasses. Power-carving tips and techniques are explained as are the proper scientific terms for all of the parts of the crab. A gallery of completed projects will inspire your own creative ideas. A great project for woodcarvers and Chesapeake Bay lovers.

Join the thousands of paperfolders woldwide who enjoy this marvelous pastime.

The first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the 'Young British Artists'. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scale in contemporary sculpture, outlining its potential for critique or complicity in a system dominated by quantitative criteria of value. In a period characterised by uncertainty and incommensurability, Wells demonstrates that scale in contemporary sculpture can suggest the possibility of, and even an unashamed reliance upon, comparison and external difference in the construction of meaning.

Look at the molding above the doors in your home. What do you see? The Bolingers saw space for some new and exciting woodcarving designs bound to perk up your home in any season. The designs and tips in this unique book will inspire you to anticipate the seasons and carve a new corner piece for each season or even each month. There are plenty of ideas and designs to provide for an entire year's worth of carving! Paul and Camille Bolinger introduce designs for the home that capture the color, fun, and spirit of the seasons. The innovative and captivating designs give you a variety of quick and easy yet eye-catching items to carve as gifts or for sale. Ten individual patterns are provided in the book along with design ideas and tips, and step-by-step design techniques. The gallery provides detailed shots of finished pieces as well. With the designs and the inspiration you will gather from this book, no corner in your home need go overlooked or under decorated. So, grab some wood and your tools and get carving--your house awaits your creations!

This is not just another book on ceramic head vases ... it's a fabulous volume featuring more than 600 photos representing the definitive works of the talented California ceramicist and artist, Betty Lou Nichols. Mention her name to head vase collectors and you will see their eyes light up -- that's because Nichols' finely decorated pieces from the 1940s and 1950s are considered the Rolls Royce of this collectible category. But many don't know that her talent and international fame also extended to a wide variety of figurines and an extensive line of Christmas accessories, as well as highly regarded portraits, still-lifes, and landscape paintings. Informative captions, up-to-date values, and wonderful historical ephemera chronicle Betty Lou Nichols' highly successful career, which lasted more than fifty years. Each color photo tells its own story, and many feature rare and never-before-seen examples by this multi-talented woman. Whether you collect head vases, California pottery, or any of the ceramics from the 1940s and 1950s, this book is a must for your collectible library!

If you love caricature carving but are getting a little tired of cowboys and Santas, this book is for you! Inside this book, you'll find 15 whimsical characters just waiting to be released from wood. Follow along with popular woodcarving instructor and author, Floyd Rhadigan as he takes you-step by step-through carving and painting a fantasy character. Once you master the basic skills, you can move on to the additional carving patterns that are included. From Eric the Red to Merlin, you'll have plenty of great new projects to choose from!

First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements. Newly available opportunities to study authentic examples, such as the Royal Academy exhibition that provided the impetus for this volume, allowed for greater opportunities to conduct in-depth examination than had previously been possible. Following an introduction giving an overview of Chinese art and its history in the west, six chapters cover painting and calligraphy, sculpture and lacquer, 'the potter's art', bronzes and cloisonne enamel, jades, and textiles - supplemented by a chronology of Chinese epochs, a selected bibliography and 25 images.

From the Fire King*TM years of the 1950s to today, this informative book provides a look at the decorated glassware pitchers and drinking glasses produced by Anchor Hocking Glass Corporation*TM of Lancaster, Ohio. Displayed and discussed are three pitcher styles: the 86 oz. upright, the Finlandia*TM, and the Chateau*TM. They were decorated in patterns including Annapolis*TM, Aurora*TM, Breezes*TM, Caprice*TM, Courtney*TM, Early American Prescut*TM, Flair*TM, Gemstone*TM, Jubilee*TM, Madrid*TM, Pagoda*TM, Regal*TM, Roly Poly*TM, Shell*TM, Terrace*TM, and Wexford*TM. The text provides a brief history, maker's marks, catalog identifications, and provides current market values in the captions. With over 360 detailed color photographs and catalog pages, this book is a must for everyone with a passion for glassware from the last fifty years!

CONTENTS -
1. AEROSOLS -
2. BACTERICIDES-FUNGICIDES - SANITIZERS -
3. CLEANERS FOR HOUSEHOLD AND INDUSTRY -
4. CARE OF FLOORS -
5. LAUNDERING AND DRY CLEANING -
6. TREATMENT OF METALS -
7. PESTICIDES -
8. MISCELLANEOUS -
BIBLIOGRAPHY -
APPENDIX -
Glossary -
Suppliers of Materials and Equipment -
Useful Tables -
Patents -
Periodicals of Interest -
Associations Related to the Industry -
INDEX -

Bringing together established and emerging specialists in seventeenth-century Italian sculpture, Material Bernini is the first sustained examination of the conspicuous materiality of Bernini's work in sculpture, architecture, and paint. The various essays demonstrate that material Bernini has always been tied (whether theologically, geologically, politically, or in terms of art theory) to his immaterial twin. Here immaterial Bernini and the historiography that sustains him is finally confronted by material Bernini. Central to the volume are Bernini's works in clay, a fragmentary record of a large body of preparatory works by a sculptor who denied any direct relation between sketches of any kind and final works. Read together, the essays call into question why those works in which Bernini's bodily relation to the material of his art is most evident, his clay studies, have been configured as a point of unmediated access to the artist's mind, to his immaterial ideas. This insight reveals a set of values and assumptions that have profoundly shaped Bernini studies from their inception, and opens up new and compelling avenues of inquiry within a field that has long remained remarkably self-enclosed.

This beautiful, color-illustrated reference of British Art potteries includes detailed accounts of their histories, artists, designers, craftsmen, and personalities, together with a comprehensive list of marks. The ceramics reflect the highly imaginative, diverse art styles of this period, evolving from Arts and Crafts naturalism through preatomic Modernism. Over 250 sharp color and 85 black and white photographs display the innovative, and often quite colorful, bowls, vases, plates and jugs of British manufacture. Lively surface textures and glaze types were developed in this period through a combination of experimentation and experienced knowledge.The book presents all the major art potteries, arranged alphabetically, with detailed text, photographs of typical wares, identifying marks, glossary, bibliography and index. The examples shown here, therefore, represent the best as well as the most typical wares.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Miroslaw Balka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for 'archival' media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

Realist sculptor Carole A. Feuerman's human-figure sculptures express a refreshing perspective on the mundane but intensely personal activities of modern life. Her powers of observation and versatility find unique expression through various materials that include marble, bronze, vinyl, and painted resins, while she incorporates both ancient and contemporary methods in the creation of her works. Swimmers: By Carole A. Feuerman is a shimmering glimpse at transitory, contemplative moments in time, often captured in a veil of clear resin that replicates tumbling water droplets. In this new collection of Feuerman's work, her printwork and treatment of the figure on paper is also explored for the first time. In his astute and insightful essay, John Yau describes Feuerman's exquisitely rendered subjects as being "caught in a moment of transition that radiates an intense eroticism." Her figures seem capable of thought, evoking an inward life that invites our speculation while revealing a mysterious provocative chasm between the figures and the viewer. Feuerman's sculpture and prints provide us with a fleeting glimpse into private and isolated environments - women stepping out of the shower, in the rain, or swimming - that suggest a meditative bliss. Feuerman museum retrospectives have included exhibitions at The State Hermitage in St. Petersburg, Russia; The Palazzo Strozzi Foundation in Florence, Italy; and the Circulo de Bellas Artes in Madrid, among others. Her work is featured in public, private, and corporate collections, including Grounds for Sculpture, Trenton, NJ; the El Paso Museum of Art, El Paso, Texas; the Bass Museum of Art, Miami Beach, FL; and art-st-urban, Lucerne, Switzerland. Her large-scale Olympic Swimmer was featured in the Olympic Fine Arts exhibition at the 2008 Summer Games in Beijing.